Learn How To Create a Trippy Animation in After Effects | Photoshop Classes By Fred | Skillshare

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Learn How To Create a Trippy Animation in After Effects

teacher avatar Photoshop Classes By Fred, I will help you get PRO at Photoshop

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

19 Lessons (2h 26m)
    • 1. What will you learn and create?

      2:10
    • 2. How is the class structured?

      1:14
    • 3. Basics of After Effects / Start of our project

      8:48
    • 4. How to Animate Position / Animating the Mouth

      10:24
    • 5. Looping "The Mouth" Animation

      7:48
    • 6. Creating copies of "The Mouth"

      7:56
    • 7. Importing the Face and Tongues

      5:17
    • 8. How to use masks / IMPORTANT

      13:20
    • 9. Creating Masks for Tongues

      9:29
    • 10. Using Puppet Pin Tool to Animate the Tongues

      10:23
    • 11. Looping "The Tongues" Animation

      9:21
    • 12. Creating Shadows

      8:14
    • 13. Child and Parent Objects in Photoshop

      7:16
    • 14. Splitting The Face

      11:58
    • 15. Creating Shadow Inside the Face

      9:10
    • 16. Putting the Mouth Animation Inside the Face

      4:41
    • 17. Finishing The Animation

      5:25
    • 18. Exporting the Animation

      12:52
    • 19. Before you go

      0:41
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About This Class

Always wanted to learn how you can animate your artworks and bring them alive? This class is perfect for you no matter whether you are beginner or experienced.

In this class you will:

  • Learn how to use After Effects
  • Create an Advanced Animation

The class is perfect for everyone:

  • Beginners
  • Experienced Users

The Animation you will create

Meet Your Teacher

Teacher Profile Image

Photoshop Classes By Fred

I will help you get PRO at Photoshop

Teacher

My name is Fred and I will teach you the most advanced and modern skills that Photoshop has to offer.

Already after watching one class you will be able to create stunning artworks.

Make sure to check my other works and upcoming classes at my instagram @freds_gallery

See full profile

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Transcripts

1. What will you learn and create?: Hello dear friends. My name is Fred. And in this class you're going to learn how to create this stunning nation. Says, Wow. This is probably is a three-piece animation I've ever created what I posted it on my Instagram. People loved it. And they have been asking me for a long time to create a class for this. And finally, I did it. And the cool thing is that this course is perfect posts for people who have never ever use After Effects and for people who have already experienced using aftereffects, the class is structured so that the first two lessons, I'm going to explain some basic principles of aftereffects for people who have never used it. And that means that people who already know how to use After Effects can just gives us lessons. The whole class is going to be learning and creating the project at the same time. So basically the minimum boring stuff and maximum fan, you're going to learn how to create these really nice TCE animation. How to put them in a loop? How to animate the position or scale of any object. Heartless puppet pinto visual helps you to deform your static objects and make them move however you want them. Like how we did it with this tank in this animation, you will also see how we can separate the face into two different parts and many more advanced techniques. There hundreds of little details in this class that you will learn on the job. Let's just look at this animation once more. With that said, I really hope you're going to enjoy this and loves this class just as much as I loved creating it. See you guys in the next lesson. Just click next and they continue to their lesson loci, don't, don't make me wait. I want to teach this to you. Love you. Bye bye. 2. How is the class structured?: So this is how this class is structured. Because as I said, this class is perfect for people who have never used after flux, and also for people who have already knows about aftereffects. The first two lessons, the class is going to go a little bit slow because I will explain lots of things about aftereffects. That means that people who are already familiar with aftereffects during this Watson's, they can just skip to the part where we actually working on the project. If I am explaining how to create a new composition and you already know how to do that. We can just skip those few minutes. And this marveled with the head. But of course, if you have never used after afraid, then you need to watch every lesson from the beginning till the end. Query important idea printed. And whenever you get confused or you don't understand something that I just explained to you, please re-watch that part of the region 99 of my students solve their problems by watching the videos. Again, I know sounds pretty simple, but it is, it's very often that people just are not attentive and miss the little things. That's it for this video series and X1. 3. Basics of After Effects / Start of our project: So welcome to the first lesson. In this lesson, we're going to learn some basics of aftereffects and start our project. That means that if you're not use After Effects, you can just skip some moments that you are already familiar with. But if you're new to after, please watch the whole video, my dear friend. So as you can see, I already opened my aftereffects. And the first window that I see is project creation window. And behind it is the program itself. And depending on your version of after effects, this may look different. Or if you after Fritz is corrupted, something went wrong. In some cases you may even Nazis this window and I will explain you what you can do in those cases. But if you see here Just type of window and the new project login project, then legis click New Project because that's what we need to do. In case you didn't see that window. You can always go to file and just click new, new project here. And it's going to do exactly the same before we start working. It's highlighted wise that you close all the programs that you don't need and all the apps that you don't need, because aftereffects requires lots of computer power. So that means that if you have many things opens, then it's going to lack. As you can see, I don't have anything open index that aftereffects and my recording software almost. So the first thing we need to do is we're going to import our assets to the project. You will be able to find all of these projects inside a resources area or just somewhere where it's written downloads, class materials. But before that, let us look at the window. What do we see can first of all, on the left side we see project. We're going to have all of our assets here. We're basically going to have our layers and animation and you will see it once it's active. And on the right side you're going to have your affects and other panels because here for example, as you can see, if you have other pounds, so if I click on effects, as you can see, it's close. I can click on info out there. And again, as I said, for you, it may look different. Some of you may have some additional window, some of you may have less when those, that's not important. So only window, for example, that we need here is effects on presets. If you don't have it there, we can always go to Window and find effects and press sets here. So I'm just going to select everything that I have here and I'm just going to import it here in this project folder. And as you can see, we have now all of our files here. And if I click on them, we can't see them one by one in this little preview window. So this is very important. And before we continue, I actually want to group them because we're going to have lots of different files here just to make sure that we don't mix them with other files. So I will just click here and I will call this main assets. And I'm just gonna select the roses and moves them into main assets like this. While as soon I foreclosed on our planet, we have all of our main assets here. So when we have this here, we haven't done really any sink right now because this is just a folder. This has nothing to do with creating the project or anything like that. In order to start actually creating Zion animation, we need to create a thing that is called composition. So composition is going to be located here, and as you can see, it's saying none, which means we don't have any composition right now, sir. In order to create our first competition, I will go to composition and click new compa, edition. And here I'm going to name this taste. You will understand why, why? Because the first thing that will animate is actually the t's. So, so just takes plenty. We will start by creating this teas animations that are going up and down and kinda looking like they're eating something. So that's why this composition is going to be called teas. And also one important thing in After Effects, you can create many compositions, which means that Alba and innovation is going to consist of two different compositions. For example, the part where we see these tanks getting any method is going to be in a separate composition. The part where we see the face turned apart into two parts is going to be different. Composition is a part with this is going to be a different composition. And then we're going to combine them all into one composition. And if this sounds kind of weird right now, and don't worry about that, we will go about it step-by-step. So again, let's call this composition teas, and make sure you don't have this locked. I wanna do which around 500 and height around 600 pixels. And let's go here to frames per second. Let's make our frames per silicon 24. That means that our dimension is going to have 24 frames per second. Which means that in 1 second we're going to have 24 different pictures that play one after another to create a smooth animation. And duration is not really that important. Let's just click OK. For now. Well, and if I now look here, so first of all, what we see here, we see here a window, and this is our composition right now it's empty. We see parties also our composition. We're going to put our lattice here. This is basically going to be like an art port. The way we're going to see everything that we actually have in our layers. And by using the scroll, my mouse, I can actually zoom in or zoom out. If you don't have Mozi can also use your touchpad, just like you would zoom in or zoom out on your phone. You can also do the same. We're using your touchpad or other way would be to go here. And for example, you can make a 102%, 100% and so on. I'm gonna go here with fit, which means it's going to fill it up to our window. And now let's start by importing t's to our composition. And let's see where artists are here. We have middle t's. This is number one. Here we have upper tears and then we have potent teas. Boom, vector. And let's actually start with Middleton. Lets me, let me actually turn off, everything goes. I'm going to select this stays and I can just click and move it down. And as you can see, just by using the courage selection till I can click and move things on my canvas. This is good. Now let's go to apertures. Let's like I will put a delta with higher. So some where here. And potent teas, I will put, oops, let's go back. So we're important is bottoms is that we actually need to put them above middle T's because Middleton is, is basically it's not really modalities. It's the back of the mouse. So that's what I'm going to put it up. So because the backbone of the mass needs to be behind every singles. So if I turn this off and on, I can use this I here. If you look to click, turn off and turn on. And when I did it, I can hide it or I can seed. So if there's some things that he didn't understand we had difficulty with, I would advise you to repeat and rewatch that part again. And in 99% of cases that actually solves the problems of my students when they come to mental and, oh, I don't know how to do that. I didn't get this part and so on. I just tells them okay, re-watch that part, the rewatch it, and after that they just suddenly get it. That would solve most of your problems. Now, let's click here and I want to go again. If you talk to a 100% Now, just to go a bit further away so I can see what's happening here. Let's go up parties. And I want to move it out with happy basically to cover the whole thing. Also, we don't have enough place for the bottom part of it is let's go to support them, is we're going to move them a little bit higher. And let's now move to the middle teas and moves them somewhere here. What would I actually like this? Good. So now all of them have their own position here and we can also select all of them are transfer for example, like that. I can just do like this, just like selecting many files. And that means I can actually move all of them together and it's going to move them a little bit higher, so they're right in the middle. So now as you can see, our mass is open and a ligase to animate it basically to make this test and this test go get close to each other and collapse. But that's it for this first lesson, I just wanted to explain you what is the whole layout, how to create compositions and some very basic stuff. In next lesson, I will already show you how we can animate them out by bringing these pieces up or down. 4. How to Animate Position / Animating the Mouth: So in this lesson, you will learn how you can estimate the position of the object. And we will start animating our beautiful tastes. Or they can go up and down. Because if you remember, we need to create a mouse for our animation. Let's call one very important thing that I forgot to show you last time is how to save your project. So if we go to File and Save, we can now save our project to anybody want to save it. So I'm going to save it to your specific folders that I have for this project. I call the tongue TreePlan animation. And that's where I'm going to save it. You can save it in any other folder you want to save. It doesn't really matter, but I would advise you to create a separate folder for this project, specifically unsafe Oh, he assets in that folder to be organized. I'm gonna call this tank 3p animation because it's lots of talks basically. And make sure it's Adobe After Effects Project. And we'll just click Save. And when we do that, we can see now it's saved as Tang 3p animation. Great. So now we're going to animate ya parties and middle and bottom t, sorry, we're not going to change anything with the Middle East because it's just going to stand vertices on this. The upper and bottom teeth are going to move. Let's start with uppercase. In order to animate anything going after effect, we're going to use points. Let me explain your water points. You see here we have seconds. First, second, second, second, third, second, first, second and so on. We can see is there's S, which means it is a second. And right now the IPA 11 seconds. And that's because when we're creating our composition, we said the link of composition to be 11 seconds. But also, you see here we have mountains. I can actually zoom in to see not only seconds about also the frames. So obviously seconds. So if I click here, when I click, I can see here now 0012, F 01120 to 12, and so on. So what is f? F stands for frames. That means that right now, when I move this blue arrow here, I can move it if I'm over. Let's say here. If you'll create 0012, dismiss that. We're now on frame number 12. We don't have one seconds right now because it's just 12 frames. You know, to have 1 second, we need to move even further. And now we have here 0100 F, which means this is 1 second. Once I can consist of 24 frames in our composition, let me just show it to you again when we're creating our composition, if you remember, we said frame rate to be 24. Let me cancel this. That means that in every second we have 24 frames. So for example, if I move this blue arrow one frame back, we see we have here at frame number 23. Now the next frame, twin frame number 24 is already supposed to be first second trip, I move it. Boom, as you can see, second number one. And we can go like that. So here for example, I have second number 112 frames, and then I have. Two seconds that I continue to second 12 frames and then I go and after three seconds and so on. But I can move even further. So for example, if I click here, click there first I move. And the maximum is where you can, where you can actually see every single frame. So we can see here frame number 1234 and so on. In order to make sure that we have 1 second, we need to go all the way to frame number 24. So we have here at frame number 2223 and incidence we get here, boom, 1 second. So again, you can use this to zoom out or zoom in from your timeline. Basically, that is very important. So now if I click here on the arrow, I will see here transform. And if I click here again, I will see here also alza properties that I can animate basically right now. So we have anchor point positions, scale rotation capacity. So you don't need to know all of them. I mean, once you know one, you understand how that works out automatically because basically all work the same. They just do different things. So let's start with position because that's what you want to animate. In our case, a tiny mated we basically need to tell after fails at its current position right now is like this. So if I just click here on the position, as you can see, when I click on this clock, the clock is blue. That means that this is now an active properties that we're animating. And these are the position of our the positions of our parties. We can see its x and y. So it's on pixel number 2250 and y is 151. So for example, if also zoom in, I can just click here to zoom and lt with closer. If I move it, I can see that I have here one rectangle created, 1 credit. This means that after flexed now remember, this is on second number 00, so we are now second number 00. The position of this upper tease is this. So this is its position when I moved my blue arrow, let's say 2 second number one. Now what I can do, I can just take this and move this down. When I do this. If you look here after first automatically created a second, that means that nafta reflex also knows set on second number one, the position of the T's are here. So basically now it knows on sacred number 0, the position was here. And second number ones, the position was here. And I, if I move my blue arrow between them after flexible, automatically animated from point a to point B. Isn't that amazing? So now for example, I can continue, for example, I can go here, I can move this now to the lift. And after football's automatically create another point where moves to the left, I go now to second number two, and I move it now to the right. Every time I move my blue cursor, basically to change the time. And as I move the object after, folks remember that. So now for example, if I go to 0 and I start playing this aftereffects, just animates it according to what we did. And this is supposed to be not that difficult to understand. But in case is difficult for you again, I would just advise you to read, watch this. Good, and now I don't really need it to go to the left and right. I don't need to go for up and down for now. So that's why I will just select this two points and I will just click, Delete or backspace on my keyboard in order to do its him. Okay, so I'm just going to click delete. As you can see now it's gone. This points are gone, and now it's animating it only up and down. And that's cool thing is that we can also move these points. So for example, let's say we want this up and down animation, P not to 1 second, but actually two seconds long. So I can take this brings us to second number two. And after first, we will do it for two seconds. What app? I can actually make it faster if I'm bringing, let's say here after he's going to do it very fast. So it all depends where you put the points. And you can also just animate it by, let's say, let me put it here, it comes. I animate this thing. Basically, not animate about previews animation, not only by dragging Zara, but you can also just click Spacebar. Spacebar is like play. So for example, if I just click space, boom, it's going to be animated. I can click space again to stop it. So again, when you click space, it starts animation, you click space again, it stops. And if you go to preview, we can also see it here. There is a play button and if I click plays, there's also stop Artran shortcut spacebar, which means we cleaning spacebar to animates. So now before we continue, let's talk about resolutions because that is very important. So right now, if you look here, you will see here full. This means that when I look at my project, I see my objects in full quality. I can also make it quarter to see it as you can see in worse, worse equality. So if I zoom in you ultimate, we can see that it's very pixelated. If I make it full, it's now not as pixelated anymore. And this is done so that in case you have a weak laptop, you cannot actually make the quality lower. And that will help you to speed up your work so that your laptop doesn't like so much. But you shouldn't really worry about it because when you actually export this as a final animation, as a video, it's always going to export it as a best quality. It doesn't matter if you have a quarter selected or for selected. It's always going to export it as a good-quality. Now this is only this quarter full applies only to the times where you're not playings animation, where you are just looking at one frame like we're doing right now. The qualities that show, that is shown when you play the animation is actually controlled from here. So if you go to preview and then you go to resolution again, if you don't have preview economics, go to Window and find preview here. So now if you have resolution, I can click Full, half cert or quarter. For example, if I click Full, not miss at my playback resolution for the animation is going to be full quality. If I click play is going to be the full quality if R Now for example, click quarter. And if I click play, it's going to be four times worse quality. So again, I would advise you to do quarter for now. Um, because most of you probably don't have laptops that are specifically created for animating subgraphs. Perfect. And I guess I said, aftereffects requires lots of power. And as this, this, I would keep it by full. Because so when we look only at one frame, we can see is a full quality. When we actually played. It places it in the quarter quality soil so that it can actually lol animation quite fast also, whereas at full Zenzele loading is going to be very, very slow depending on your laptop power. That's it basically for this lesson, CMI, different cities in the next lesson. 5. Looping "The Mouth" Animation: In this class we will continue animating our mouth and we will actually learn how you can put the animation into the loop so that for example, once you have the mouse animated, you can animate it forever. How could I sat my dear friend status? Let's continue. So during our last lesson, we animated this teas and made it go from up, down. And that's exactly what we need. But the animation actually needs to grow much faster. And so, so I'm going to bring this to 12 frames, which is 2.5th. Also, I need to put it not, this is 20. I'm going to go to frame number 12. And I will take this and bring it out to bid higher like this because we also need some space to animate the bottom t. So if I move this now is going up, down, perfect. Now will go to quantities. I will click on this arrow and we'll click on transform. And I will click on position. So that after first remembers that ONE second number zeros, this is its position. Then I will go to frame number 12. I will take the bottom two and I will bring them up. And when I do that, as you can see now, so you actually get together. And now for example, if I move my arrow from left to right, it's animated. The mouse is closing and opening. Perfect. You can click space to see how fast this is. Okay. It's not fast enough. I want to make it at least twice faster. So what I will do this is 1212 frames. I want to go to six frames. And I will bring this to six friends first of all. And then I will go to bottom teas and brings us to six frames as well. That means that now they're going twice faster. So now once a closed, we also need to open. That basically means that in other six frames, they need to come back again to their original positions, which are basically this point. What we can do, we can just copy this points from here to here in order to tell after that, okay, on Antoine level, on frame number 12, to the same position that it has on frame number 11. Say again what I will do. I will go here, I will click on this one. And then you can use hotkeys like control plus C or carbon plus c to copy it. Or if you don't use the hotkeys, you can just go to edit and click copy here. They can go here basically to frame number 12, Make sure it's 12 by looking here. And then go to Edit and Paste. And once you do that, as you can see now we have another frame here, which, which has the same prowess of this frame. So if I move this now, look at the only owns the top ticks because that's the one that we animated right now. If I was going down and up back to its original position. So I will do the same with the bottom. I will click here, I will copy it. And we'll go to frame number 12. And I will paste it here as well. And now if I move it, it's going to close and open. Closed and open. Perfect. If I plate now, boom. Boom. So what I need to do now is to let me just close this and let me close this as well so that it doesn't. Doesn't look messy. Now I've wants him to close unopen, endlessly. Basically, we need to create a loop where our tastes are opening and closing. And, uh, first of all, let me go back. So not go back. What zoom out the timeline so I can see the full timeline which is 12 seconds. Now looking stuff is not that difficult. Let's just go for a party's first. And in order to see all the active points that I have right now. And if you remember, let me just click this open and then click Transform again to open this zone, the active animation that half is animating the position. I'm not an emitting scale, rotational capacity or anything like that. And just to show you as an example, you know, all this as a parameters are estimated exactly as the same as position. So for example, you don't need to do it. I'm just showing you an example. If I click on scale and let's go down here and premium on second number one, I can increase the scale. And after festival, just animate the scale from, down from small, from a 100%, basically 243%. So that's how all of them work. So I don't really need scale, so I will go back and click on skills for an animated. Now let me close it. Now in order to see all the active points, basically all the active properties that are being animated. We can just select a layer and click you on the, on the keyboard. If you click you, you will only see all the active properties wishes position. In our case, we can go to botanists and click you again. And so just remember this, you click you. It shows you only the active things that's very useful because it doesn't look as messy right now. So what I will do now and I need to make it so that it's looping. And I don't want to, you know, create thousands of points here. I just want to tell after fatal cases points, just repeats them. High can do this is very, very simple. If you go here, click Insert right now, just go here. And then you hold alt for Windows or Mac. It's either option or command. Okay. I'm not sure which one is it since I'm using Windows, but if you're using Mac, you can try comment or optionally contract both Susan, and if something goes wrong, oh, it doesn't work. We can always go back and go to Edit, Undo and try again. So I'm going to hold Alt and click here pump. And when you do that, you will see here this arrow. Again. For Mac, it's either option or command. You hold it, you hold command, you click here and it opens. So when, what will here? You will see some code basically you will see words. And don't worry, this is not going to be difficult. You don't need to learn this, okay? You only to learn one expression which helps you to tell aftereffects loop stuff. So, and the way it goes is very easy. You just write loop and you go, oh, look out. You put brackets, closed, open brackets, and then you put this sign. I forgot how it's called in English. And you write here cycle basically. And that's it. That's all you need to write. Bone. And there you can click and click somewhere else. And once it's written, now for example, if I move this, if you look here, look at the top. This is just going to be animated for ever. That's pretty DOP. So what I will do, I will just, you can just double-click here. I will copy this text. I will do the same to the bottom tiers as well. Again, you hold comment for macro, you hold alt for Windows. You click here, boom, now it's open. And I can just paste this code here, click somewhere else. And knife I'm moves, it is nasa getting closed and open for ever and ever. How chords that don't forget to save this, my dear friend status. And that's it basically for this tutorial, I think we learned some pretty cool things. In the next tutorial, I will show you how to create a of t. So basically we will need many, many of them. And if you remember how the animation goes, we need to create many, many of these tes and put them here so they all work together. See you guys in the next tutorial, in the next lesson, I mean, bye-bye. 6. Creating copies of "The Mouth": In this lesson, we're going to create multiple copies of our mouse. And you're going to collect them all in one place, just like in this part of the animation set. Let's call hello. Hi yo idea for NTS. Wow, so now we integrate many copies of this taste. I would say approximately 15 because I don't know if you remember. But in the final animation, we need to have many, many houses are about this. So what we going to do, first of all, let me actually close all of this, basically like this. And now I want to convert all of this tree into one object. So if I select them and I click right button, and then I go here and I click prayer campus. We're going to have here this window. And this is basically how you convert mania multiple objects into one object. And I'm going to call this, let's call this mouse. I don't know, for example, and make sure you have your second option selected. This is also selected, and let's click OK. And that will care vf here, mouse, basically only one object. And if I move this wire. So now what happened is that we still have our TCE composition. In this, this composition we have another compositions that we just created, which is called mouse. And let's say if you want to go to the original project and let's say to some changes to this animation, you can just double-click on the mouse. Boom, boom. Once you double-click, you will see another window with mouth open. And here you will see our original three files that we were animating. And now let me close this and again we go to this animation and weather. And also when you do that, you also see all the compositions in the project folder. So for example, you see here a mouse and t's. So now I need to make my Canvas bigger. Right now it's too small. So let's go make sure this is not select religious go to composition and composition settings. Good, anti-cancer. That's the competitions that we're editing. I'm gonna go with width and height, one to 50 and legis click OK. What are this is a satellite we need. Let's go here and click fits. So it fits on the screen is the whole composition. Now we need to make some are smaller. It's still beak right now. And for this what I will double slit demos. And now instead of openings is, you know, an opening transform and going to the scale, you can also use schottky hotkeys. So for example, if I click on mouse as an iconic.'s and S is for scale. Once I click S scales opened and I can just make this smaller and z should be fine. I think so. I'm not sure, but I think it should be fine. Actually, let's make it even smaller. Perfect. So now we need to create many, many copies of z. I was a mouse, let's say, of this composition. In order to create copies. Or you can just basically duplicate them. And duplicate means it's control plus d. Or if you're using Mac, it's common plus d, basically a hotkey, or you can also go to edit and see here duplicate via. So I'm just going to duplicate it a lot. And let's say, No, this is fine for now, we will do more later probably. So I will put it one here, put one here. So now they're all located on the same spots. That's wise it just behind each other. We just need to take them and just move them around to stuff like that. Now, let us try to rotate and basically change the angle so they don't look all the same. And again not rotated. You can just select the layer. You can click our boom. I see astronauts are split. We get this rotation and I can just rotate this like that. I can just change the angle. And here we go. So we will have to rotate them one by one and just change the angle it bit. You can even go like crazy if you want to, you know, like this, like this. If you just select them one by one and go crazy rotating them, basically. Let's move it. So now we need to create more and in general version to make sure that there are no empty spaces between them. So for example, this black empty spaces are not acceptable. And what I will do is, as you can see again, we made him a mess everywhere. We have rotation open, so I will just click here. And then if I click Control or common plus a, all of them are selected. And I can just click on this arrow to class o to close all of them together. This is not that important, but it just helps you to organize your work so you can close and open all of them together. So again, it's control common plus a, you select them under water. So let's just start creating more copies so I can just go here. Duplicate, duplicate, duplicate, duplicate, duplicate, duplicate. How many? One more lubricate 15 should be. Fine. I'm going to put it here. For example, let's say actually here I'm going to put one here, I'm going to put another one here, another one here. And let's say another one here and one more here, let's say is last one. Oh no, it's not. Wow, we have mob. So make sure as there are no empty spaces again, let just like them and let's start rotating them one. So just make sure there are as big as possible. So it looks nice as a wise gives all of them are straight. It's not going to look interesting. You know. Good, good, great. So now if I move this blue arrow, you will see that all of them are animated. The effect, it kinda looks scary actually. What we need to do is we need to make sure that all of them start biting or start closing ceremonies at a different time. So right now, if you see, if you look here, all of them are just biting stuff at the same time, which is not what we want. And what I will do is I will just change their starting position. So for example, let's go with this one. If I just move it here, let's say I have been here, for example. Now it's going to bite at different positions and all of the rest because I changed the starting position. And let me just let's just go and change a few of their position. So you know, what I'm talking about is to like like SAT, don't be afraid to go crazy. Visit, OK. Good, good, good. Boom, boom. So as you can see, they're all doing it at a different time. Of course all of them are still repeating, but that's fine. They might sink is at CSER not as itself with how thick. So that's good. That's what you want. Actually, let's do even more because some of them, it's still not as Howard sickness I wanted to be. So I'm going to go even crazier when it comes to moving. This sinks like this. Okay, perfect. That says visits lesson is next lesson. We will actually start already creating girl herself. So we will start creating this pretty phase with the tanks inside and so on. Bone. Let's just save this and see you, my dear friends, the density bye-bye. 7. Importing the Face and Tongues: Hello my differentiate us. In this lesson, we're finally going to go to the face and starts creating phase composition will import the left part, the right part of the face, and also the tanks. Hello, Hello, my dear friend sizzles. So during our last lessons, we created this magnificent trees. As you can see, they're moving, they're biting, and it just looks beautiful. On this lesson, we will actually stop with this composition and we will go to creating the face. So basically we will have to create this phase here, put it into the composition after what we will have to also add back off his face because it says also if you look here on the back, there is also basically a background here. You will see it. And we'll also adds the tanks and Alice is going to be in one composition. So in order to do that, we have to go to composition. You can position. And let's call this, I would say pray, final. Final and width 100 pixels, height 1250. For every 24 and duration, we have to make duration longer. Actually, let's make it 1515 seconds basically. And that should be fine. I'll just click OK. And the notes go to tease Alice, actually close the composition. We don't need it right now. It's saved here. Don't worry about it. So now let's go to our main assets. And here first of all, I need to find z faces. And here's, for example, left front. Let me place it inside fresh aftereffects. Here we have left back. Let me place it also inside After Effects. Basically this is a back of this phase. Then we need to write front and write back. So let me import this too as well. Good. So let's actually turn off right front and write back. Let's select left back and left front. And you can hold Control or comment to select multiple objects. So we can just do like this. And we will move them out with chooses left. And I'm just trying to find the perfect position so that we don't see these things and also we don't see these lines here. And let's just, okay. What we will do is I will increase their size. Let me actually broke brings us down a bit like this. And let's see. Ok, I will increase their size now so that we don't see these things here. And I'm just gonna click s. And let's make it 101% follows them. And it's already looks much better, mainly mood LT bit to the left, just a bit. Pump peer effect to my dear friend cities. Perfect. Now let's turn on right front and write back. Let's select both of them by holding control, we can just call comment. If you're using Mac, we can just select them. And boom, so we need to put it so that it doesn't look like there's a hole. It needs to be very, very close basically. Ok, this looks fine. And now let's just go here to the right back and put it down because we want to have parcels back bars to be below the faces. And that is perfectly F Here are some still The scratches here and here as well, but this is fine. Okay. Now we need to add the tanks. And I will take tango amigo trunk right and Tang left. And I'm just going to, again, you hold control are common. You click on zoom and now you can actually import all of them. And I will import it on the top of the phases. And now we just need to try to select them one by one, like this one. This is going to be Tang lift is called Tang left, so it's going to the left part. Then we have tongue right? It's going to the right. And then we have Tonga meadow, which is going to the middle. Basically, I mean, pretty straightforward. So not look at this animation. You can see that we don't see the full tank. We basically need to make sure that it's located inside the mouse. And we can't do that by cutting its part. And the same goes to the ice as well. So basically what that means is that for example, if you go to the mouse, this tank, it needs to stop here where it enters the mouse, we need to cut out the same goes to this tag. It needs to stop 0 where it goes inside the eye. And we're going to do that using masks. So let's just go to file and save this. And on the next lesson, I want to explain you bought is a mosque in after afraid. Ok. So if you already know what is a mass than you can skip to the next lesson. Because in the next lesson I'm just going to strictly explain your own examples. What is mass, how we can use must answer. And this is for people who are using aftereffects first-time. If you're already experienced, you know what is mass than just skip next lesson and jump into the one after it basically, see you guys. Love you. Bye-bye. 8. How to use masks / IMPORTANT: So in this class we're going to learn how to use masks. That means that if you already know how to his mask in After Effects, then feel free to skip this lesson. But if you're not familiar with mass, or maybe you know something but you don't know everything. I would advise you to watch this lesson since it is going to be very important for our animation seriously, this part is going to be where I am very crucial for you to understand. And that's why if there's something that you don't understand, please just rewatch the lesson and it will help you out. See you guys at counters a lesson. Hello my dear friend Sita's. So in this lesson, I will explain you how to use mass in After Effects. And this is specifically for people who are just starting to use After Effects and don't have much experience with it. If he experienced and already know how to use mass, then just, just jump straight into the next lesson. Because in this lesson we are not going to work on the project. I'm just going to explain you how to use masks in after effects. We are going to use mass basically to cut the tongue and make sure it's placed inside the eye or inside the mouse. So I will go to composition, click new composition. And I'm just gonna call this test composition because this is just going to be for testing purposes and ledges click OK. And here I will take one of our tongues. For example, let's say it's a middle one, and I will place it inside our test composition. So in after friends, there are two ways that you can create mass, and I will show you both of them. The first way is to use control. And if you are already familiar with any other design tools like Photoshop, Illustrator, coral draw, Adobe X, t or anything other, then you are already probably familiar resist parental. This parental basically obsessed to create shapes. If you're not familiar with any other design tools. And if you don't know how to use parental, then this is going to build a bit more difficult for you. And that's why I would advise you to watch this, watch this part again in order to understand how these two works. The first thing I want to do is I just want to click somewhere here, let's say to the empty space. And as you can see right now, nothing is like this. This is not selected and that's what I'm going to select parental. And what I have meant to select it here. We can see that we have here fill and stroke. And this is basically going to tell us what colors to be are going to have for our shape and on the borders of our shape. So for example, let's click here and you can select any color you want. Let's say I want to select blue color. You know, you can move this to select different tonnes of coal, to select different colors, and here to select its tone. So for example, I want to make it really bright bullets click OK. If you don't have it here, you can click on field and click on this first option, which is, which means we're just going to add a normal color. But that's only if you didn't have anything here. If it was there already is a color was already there for you, so you don't need to do. Now is go to stroke and the same applies here. For example, we can click on the stroke color and change its color and so on to water in one stroke is basically going to be the border of our shape. And I don't need this right now, so I'm just gonna go to click on stroke and click on the first one, which means not. So no stroke. Okay. Now it's actually takes the pen tool and now we can start creating our shape. So for example, I can click here. Boom, when you click, once, you create 1, and I can go, let's say here and click again. And I'm not holding my mouse or anything, I'm just moving. I'm just moving my mouse not holding any buttons. And now for example, I can click here. You click once on the left button of mouse and we have another point created. We go here, we click again, boom, another point. We go here we click again, boom, force point. And as soon as you can see, we already have here our shaped. And as you can see, it's blue color. And that's exactly what we chose. So now in order to finish our shape, we actually need to close it, which means that we need to go back to the first that we created. We need to click on. So if I move my mouse on Tuesdays first, we will see that there is a circle near our Pentium. And once I click here, boom, now this shape is closed and now it's complete. And also if you adhere to the Shape layer, you can see that we have now here separate shape created. And now let's just do this over again in case you had any problems with it. So I'm just gonna click somewhere in empty space. I don't select anything. I'm gonna go to my parental. I will click on philos to now it's a different color. Let's make it green. Let's click. Okay. And also now let's actually add some border colors. So let's click on stroke. Let's click on solid color. So we have a solid color here. Let's click OK. And now I will click on this color. I don't want it to be red. I will make it, let's say orange. Click OK. And also, as you can see, we have now here two pixels. This is basically the sickness of our border. So I'm going to click here and I'm gonna make it ten. And you will see what it means later. So now for example, when I have everything set up, I can just start drawing. And if I click here, again, make sure nothing is selected. You can just start clicking here. Boom. When I did it, I click once, execute again, and click again and again. And when I do that, as you can see, we, I will shape created and I can just draw any things that I want to draw by just clicking around. And now again, in order to complete the shape, I just need to go back to the first. And when I see a circle appear near my pen tool, I can just click and voila, it's completed. So perfect. And that's go to milestones. And shapes are just, just like any other less we can just select them, we can move them and he made them and do anything we want with them. So right now I don't actually need this shape, so I'm just going to click on it and I will click it o backspace button basically to do it, it went up. And I will do, I will actually leaves the shape. I will use this later. So I'm just gonna go click on this I in order to turn it off because I don't do it right now. So now, now when you learnt how to spend two, now let's go to our tongue. We are actually going to create now a mask using Pentaho, but already owns. Tang, because what we created previously voice just so shape, but it was also credit using parental. That's why I wanted to show it to you because we will need shapes in the future and we also need to know how to use Penzu. Now let's select mental. Make sure you have tanks elected. And now, once I start creating what will happen actually, you will not see any colors, but you will see a line which is going to be a mask for our tongue. So I can just click here. Once. Boom, I go here, click and go here, and I click again. I go here, I click again, again. And now, once I complete my shape, so if I go here and click again, What's happened now where we mask specifically for this tank, which means that we see as a part of this tank which is only inside the mask. That is what basically mask is. Mask helps us to hide or show only specific parts of our objects. So now for example, if I go to my tongue and I open it, I will see here transform, which just like before, you know, it helped us to animate scale per position and so on. But also I will see here mass. And this is the message that we have here currently, this is the ones that we created. Now let's go and do this again. For example, I will go until it is just for exercise. And too little, you can just click on it and click delete or Backspace Andrew automatically deleted. So again, let's go to parental and a list now, draw some skills. For example, I want to add one to the right part of the tank. I can click here. And also when you do that, make sure you have always said Layer selected because if you don't have any instance selected, then it's going to automatically create a shape. But if you have something selected, then it's going to create a mask for this object. So I'm gonna click here once click here again, here, here, and just close this. And once I do that, voila, now we have on this right part of the tank Sean. Now, another interesting thing about mass is that I can actually invert them, which means that, for example, as you can see right now, I see on the right part of the tank, what do I want to say on this, the left part? Well, I don't need to create a new mask. I can just invert the existing mask. And it will show everything which is outside this object. So if I go here to the mass, so again, this is how it's usual status. I can open this. I can open mass. And here you will see my first mosque. And also I will see inverted, which is not checked. As soon as I click here, water as you can see now it's checked. And now that means that we are seeing everything that is outside 0 mass. Now let's say you want to change this mass, let's say want to adjust it, you know, add some new points and so on. It's pretty simple. I can just take my pen tool. And when I have it, where I need to do is I just go to this mask, make sure as a mascot selected here. And we're gonna go to my mask. As soon as I move my point O on the line, we have the mask. You can see that we have here is this plus icon. So whenever I move my mouse on the line, we seize the plus icon. That means that I can actually now create a new point. How does it work? For example, let's say I go here, boom, have new point here. And I can actually click and drag this point to change the shape of my max. So for example, I can just take this. And once I drag this, as you can see, we're starting to reveal, move the tongue or we actually started to reveal less of the tank. So it all depends on how you use this mass. That's it. So now we, now what I will do is I will go to this mass and I will do that as well. Because now I want to show you another ways that you can hide and show specific parts of the objects that we have. And this is what we're actually going to use in our project. So we have here is this shapes that we created previous. Let me just turn it on. We can actually use this, save this shape as a mask as well. What does this mean? Now, for example, I can put this shape here. And let's say now I want to show the part of the stack which is only inside this shape. How do I do that? So here you will have different parameters. For example, mod tracking mat, parent link, and so on. We want to have kids is tracking mat. And if you don't have it, then please go here and make sure you have heres is checked. So for example, when I turn of this, as you can see, we are hiding some stuff. If I click here, we already have kept tracking back tacking matter shown. And that's what we need for now. So this is a basically helping us to show more or less options. So when you have your tracking matter, make sure you go to this tank. If you click here, you will see here alpha matter Shape Layer one. Shape layer one is basically this layer. And by doing that, we will actually till after fix, use this shape as a mask. So if I click here, boom, as you can see now, we see only that part of the tank which is located inside the Shape. And now for example, if I click on this trip and I start moving it, you see the only sees a part of the tank which is located inside this shape. That is pretty cool. And we'll say, we can actually go here, alpha and it can do alpha inverted matter as well. So we went, when we do inverted, we say everything that is located outside this shape. So again, I can go to the shape and I can start moving it like that. This is critical if you got confused between the two different masking options, than just please re-watch this video again. And I'm pretty sure you will understand how this works. Once you rewatch this. Again, this is very important. And that's an important thing to remember is that in order for this to work, you need to make sure that the shape player is only one step above the object. So for example, if you want to use this shape as a mask for our tank, the need to make sure that it's located above the object and only one step above. So lets me go, let's now go here to Alphabet and click note-taking matter. For example, if I put it below the tank, as you can see, I don't have any attracting matter options on the tank anymore because there is nothing above the top. So that's where as soon as I put this down below, I can see here if you're tracking matter activated. And these are basically the two options, how you can create must. We are going to use this option with a shape. That's why. Again, please make sure to rewatch this part again if you didn't understand something. And with that said, my dear friend sitters, let's go to the next lesson where we'll go back to the project. See you guys love you. 9. Creating Masks for Tongues: What's up, guys? We are back to the project and I mean, doing zealous listen, I was explaining how to spice and so on. But this was just an example. And let's go back to our prayer final composition. And this competition is that I have a set test. It was created just for testing purposes. So you can just close this, you don't really need it. We are going to use it in their project in any way. What's up, guys, welcome back to the project. So during the last lesson, I was explaining our 2's masts in aftereffect. And that lesson was specifically for people who don't know how to use a mass and who are new to after Fritz. During this lesson, we will go back to our project and continue creating the 3p animation. And so I'm going to close this test Composition I created during class lesson. And we don't really need it. It was just for example purposes. So if you have never created it, then don't worry about it, just don't, don't pay attention. It's nothing. We don't need it. So this is what we left. Oh, this, this, this where we stopped with the project. And now what we will do is we will try to add mosques, forces, tongues. So I'm gonna go with Tang left. And what will actually do, I will actually make sure that don't have anything selected. And I will actually turn off two of these tanks. Okay, I'll go to parental. Now I need to create a shape that basically covers these two eyes. So how's this going to be? Let me show you. First of all, we need to zoom in our screen to his left and right. And I don't know if I have told you that, but you can actually hold space. When you hold space you get things. This hand tool which helps you to click and drag. And this is only for people who mouse in case you cannot do that for any reasons. You can just go here to select hand tool and just click. When you have handled it can just click and drag to the left and right. This actually where you're comfortable so that you can always go off to the left and right during your project basically. So what I will do now is I will select parental and I will start creating a shape basically that is on top of the ice. So I will go from here. Before you click the shape, makes sure you don't have anything selected here. As you can see, nothing is selected here. And I have my shape selected and I can just start creating a shape. So also I want to go to stroke. Clicking on the stroke makes sure we don't have any strokes. I will click here to non, boom. We're going to have on the fill color. So let's start creating. I will click here once and then click here. Click, click. And basically by clicking, I will use this punctual and creates the shapes that I need for this. 92 go exactly around the eyes. Like this. Okay? And I will just put a click here, click here, click here. It's nice shapes that basically course ever sink of the top of ice. That's exactly what we need. And I'm actually going to click right button here and click Rename. And I'm gonna rename it to be Mosque for tanks basically. I hope I spoke tanks right? I'm not sure. I think it is. So anyway, oops, by accident, I clicked here, which on the layer names we changed the how it shows the names of the objects. So I'm going to click here again. Okay, yeah, now it's back to normal. This doesn't really affect anything. It just changes how it shows us the names of the objects. So if you click here backs and just click again to bring it back to normal. So now we have this mass for the tongues, and I'm going to start, first of all, we start on the left side. And what can I, what I can actually do right now if I go to this tank, basically, I go to the tracking here and I go to alpha. A mass. Again, if you don't see it here as a striking matter, make sure you click this button and it will show us attacking much. Here. I will go to this tank, I will click alpha tracking matter mask for tongues. Also, when you do that, make sure this mask, four tanks is located just one layer above the tanks left. That's where important. Okay, and once I do that, oops, let's actually go here and do the inverted alpha matter, not just alpha Marta. Once I did it, as you can see now the tanks is inside psi and we don't see it evolves. I, again, during last listen, I was explaining how Basque works. So I'm not going to explain it here again. That's why if you don't understand how this happened, just make sure to watch the previous lesson. Boom, perfect knows only one thing is that we see here something is kinda wrong. So what I will do is I will just take this tanks left trip. I will click S and I will make it a little bit smaller. Let's say 98%. Let's say, let's actually say 92%. And let's move it outward to the right. While I'm perfect. Now let's go to the tank, right? And now what I want to do, I want to have to do the same thing. Basically forced the tongue guns, right? So if I turn TO, as you can see, we also need to add a mask for this tank as well to put it inside the eye. So what I will do is I will just go to this mask for tongues. I will copy it. And I can do that by clicking control or common plus D. And these stands for duplicate. So if I do this, boom, have passcode for tanks to, I will move it down. And it has to be just one layer above tank, right? When I have it. I can just go to this tongue, right? And I can go to Tracking Mattie and click here iPhone motto, inverted mask for tanks to. And as you can see, we have it here. I will also go to this tank on the right. Also, let's actually make Source Name bigger since we don't say everything. Okay, perfect. I will go to the scale. So if I click Yes, and I will do is a scale also here, 92%, so says the same. I will move it a little bit to the left and perfect to my dear Francis as Now's their insight. And then let's do the same for basically for the mouse as well. And so Tank medial, let's actually turn it off. And I will create the same. Again, I just need to create a shape for this mask. So what I will do, make sure nothing is selected. So you can just click somewhere in empty space. And as you can see now nothing is selected. I will take my pen tool and I will start creating the mask and basically the shapes. So I will start from here, click here, here, here. And now I will go just, you know, around here, I need to go around. It is you can zoom in actually. And you can zoom in by using these parameters here, 800% and so on. Or you can zoom in by using your touchpad. Oh, scroller on the mouse. Boom, boom, boom, boom, boom, boom, boom, bom, bom. Magnificent. I'm gonna go here. Here and I will, I'm sorry, let's go back. Say if you created something by accident, you can just go back. You can go to Edit and undo. And let me just continue to hear and while up. So let's actually zoom out now. And I can just go here and basically close this shape. We did it. So now what I will do is I will go to the Shape Layer and I'm going to actually rename it. Click that button, choose Rename and mask for mouse, let's call it. And let's bring it down just one layer above as the tank middle. Ok. Again, the names of the objects change and we're going to click here. Boom, yeah. So let's go to tank media-list, turn it on. And now I'm just gonna use this mass here, basically for shape here for the tank. I'm gonna go to Tracking much, uh, and I will select Alpha inverted Mata mask mass. And what our, cuz this looks really weird. Okay, you shouldn't worry about that because we're going to add the shadow is there and is going to be fine. So if you look here, you're going to have some shadow is going to be fine. The only thing we need to do is maybe we need to make it a little bit smaller. So I will go to the scale, just click s, And let's make it 95%. And let's also move it to the left EBIT to put it in the middle. Maybe I'll pitch higher because it feels like it's too long, kinda. So now we kind of done with placing the tons. And this lesson is already pretty long, Probably, Yep, it is unknowns in this lesson we will actually go and start animating the times I move him left, right, and so on. Assume idea for incidence, love you, bye bye. 10. Using Puppet Pin Tool to Animate the Tongues: Hello, my dear friends seen us. If you have made so far, then congratulations, you are a true hero because it was not easy, but you still made it. So in this lesson we're going to animate the tanks and make them move from the left to right. So for example, if you look here, look how all of the tongues are getting nicely. I animated. This just looks magnificent. And we're going to do that using a tool called puppet Pinto. So let's start with tank on the left, for example. Let's select it and let's make sure everything is closed. We don't need any open things here. Let's go over to the tongue glib. And we're going to select here puppet Pinto. And when I select it, what I will do, first of all, I need to create a skeleton of this object. And that means that, for example, into click here once. And then I need to click here again, again. And I'm going to click here. And I'm going to click here probably. So now we have this cousin of this object. We have the middle, we have the borders and Vf is the h, basically. And if you look here to the tank lift, we actually have here a new parameter called effects and we have incited puppet tool. So that was automatically created once we selected the puppet Pinto and started creating sapiens. So I will close this for now. We don't news right now. So whenever the puppet pencil sludge it and have this point here, I can just take this pins and I can click and drag them around, basically to modify my object and move the tongue and can do the same here as well. Yda, this looks pretty dope. I can move it to the Iraq, left and so on. So let me go back and back just to bring them back to the original positions. So now if I open it and then I go to a transform, let's close transformer scope often affects. And let's go to Puppet. And now if I go here to mesh, if I click it, you will see here also deformed with us also opens this. So as you can see it sort of things that we in token. But once you do that, you will see here path spread pins, the cells, the pins that we created. So it's five. And let me just, let's just click on the form and you will see here what a 1-2-3-4-5. If I move this arrow, you can see we have here five of them. So basically, now after effects automatically remembered the position of the positions OSes pins on second number 0. And that's exactly what we're going to animate this. We will move our arrow, let's say 2 second number one. And then we will animate the position of the pins to make it easier for us, what we can do is I can click on tank lift and I can just click now you, and once you click you on your keyboard, it will open only the active pins. So it's not going to open all the other things. And as you can see now, we have only the puppet pins that are active when we have 0 positions animated. So again, this was automatically credit by after flex. Since we just created zeppelins here, as you can see, it's already active, which means they're already in active animation mode. So I'm gonna zoom in and I will go to 2.5th. So basically 12 frames. And I, again, I just click on this deformed and I will start animating this. So now for example, I can click and drag this. I can click and drag this, let's say to the right and do like this. And now for example, after physical animated from second 0 to half a frame, so but to 12 frames, sorry, 2.5th, 12 frames, while it's animated, now will go to second number one. I will animate it again. Let's say is This time I'm going to do something like that. I'm going to move it. Even crazier may be like this. And maybe I'll tweet up, even as I will go to 1 second, 12 frames. And I will actually move it here. I will bring it here as well. So do stuff like this. And then second number two, I will actually bring it back to its original position, which means I will just copy this pins and I will place them here so that we have the same position, just like on second number 0. So I will just select this. Boom, I will click Control or common plus c. I will go here and then I will paste it, which is control common plus V. And you can also find these tools here, copy and paste, voila and I paste them here as well. And now that means that it starting with its original position, is getting animated, animated, animated as it's moving back to its original position. So now for example, if we try to place this, again, we go to preview and we click play. Boom. And there isn't y's cancel, it's pixelated when it's playing. God is because we are trying to save laptop power. That's why resolution on previously set to quarter. We can go actually and make it, let's say foo, just to see how it looks. So if i places, again, we can play this again. And boom, looks pretty cool to me. Okay, should be fine. Let's go visit resolution and make it back to quarter so that we can save our laptops power. Now what we need to do, let me close this now we just need to do the same to all the other tanks as well. Let's see how long is this tutorial? And yeah, I think we can make it. So let's go to tank, right? And let just start creating the points. So again, first we need to create the points on the borders. So again, 1231 in the middle. And another one, let's say here. And this is good. Let's now move to frame number 12. And animate this. We bring it back here. Let's say this goes up like this. Let's now go to a second, number one and animated even more. Let's say we want to bring it here. It's getting really crazy like this. Or maybe like this is pretty cool. What's bringing to frame? Second one, frame number 12. Let's do something like SAT. You know, just to play around and add sand is going to go back to its original position. I. In order to do that, we need to coke is a position from second number 0. So again, I will just click on this tank. I will click View, which means show all active points. I will copy this points. Control colon plus c. I will go to second number two. Here you can see 0 to 00 and I will just paste this points here, which is contour loco and plus v, y lab. And now again, it's moving prettied up. And lets go now to this tankless selected and will match, make sure it's selected here. And let's select puppet Pinto. And let's just start by clicking here. Here we will need to create more pins. So here, one here, one here, here, and probably one here in the middle and one at the very end. And okay. So if you look here, I made a mistake. When I was creating my pins. I, by accident, my arrow was located here and not in the very beginning. So that means that now is the location of the spins is going to be on second number 114 frames. So that's why what I will do actually, i will go at it and start our so for example, I'll go to this tank to two effects. Click on effects and just click Delete or Backspace. Boom. And so that will go to second number 0. And now I will start against so that when I create my pins 0, second number 0. Again, we'll just click here Walla. So just make sure you don't make the same mistake by accident. One here and the last one here. Good. Now let's go to frame number 12 and let's try to animate it. So first I'm going to move it to the left. Maybe even a little bit higher like this. This also may be just ultimately of movement to second number one. Like this, like this. To second number 12, which will go to 0, right? And up like this. Actually, maybe even here. And then second number two, which is going to bring it back to its original position. So again, let's go here. Let's click you. So we still always active points. We can copy now's the points from the second row is 0. And we can actually, if you don't see all the points here, it can just go here to the middleware uses line and you can increase it so you can see everything. So if that's more comfortable for you, you can just increase this height. I will now select this o. I will call Pete. I will go to secret number two and I will paste it here. And what I'm now let me close this. And let's actually go to File and Save in case this aftereffects crashes. Let's see how long does this tutorial, okay, it's long enough. And that's it basically force this part. And if you look now all of our tongues are pretty nicely animated and it just looks, you learn Allah. Magnificent. Let's just go here and click feet. So we see it in full window while I'm perfect. In the next lesson, we're going to make them animate endlessly. So in the next lesson we're going to animate them endlessly, which basically means that right now it stops at second number two, but actually needs to go endlessly and no till the end so that it plays more than two seconds basically. See you guys in the next lesson. Love you. Bye bye. 11. Looping "The Tongues" Animation: And now I know my differentiate us. So on this lesson we are going to animate the, not animate, but we are going to make the animation of our tongues endless, basically, because right now they're just animated. But on second number one, the animation stops. And after that they are not animated anymore. So we need to make that z animated endlessly. And how are we going to do that? So first, let's go to second number 0, and let's start with tank on the left. Let's actually also make this panel ultimate smaller. It's too big. So what I will do here is I will go to second number two. And the retina IC can see the length of this layer. Actually, if I just scroll is till the end of the competition, basically 15 seconds, I want to make its length be smaller. So I want its link to be only two seconds because that's where our animation ends. And in order to do that, what you can actually do is, so first of all, I will zoom out of this. So I will go to the maximum zoomed out. And then we'll go here. And when I put my mouse here, you see that we get exists arrows on the left and right. Let me sit now. I can take this layer and I can actually decrease or increase its length. So as you can see when I do that, right now, its duration is only five seconds and seven frames, and I can make it even smaller and so on. And I'm actually going to bring it here. So basically if I zoom in now, let me zoom in and actually zoom out a little bit more. I'm gonna bring it directly to circuit number two. So I will just take this M brings us on this line. So now for example, that means that we can see the tank here part. Once I move this arrow forward, we don't see it any more. And that's exactly what we want for now. So let me put it on second number two and what we also want to sit on second number two. So I will just bring it one step forward. So just one frame. Boom. What are it's not just one, it's its own second number two and frame number one, the end of it. Perfect. So now when you meet its length shorter, What I will do is I will create right button here. I will go to decompose. And when you do that, make sure you select the second option. And let me actually explain you again. Voters pre-canned pause because I remember last time I did already explained it to you. But again, this basically just helps us to take this layer and put it inside a group. So I know right now you're thinking, Okay, but it's only one layer. Why are we putting it inside a group? There isn't for that is that we want to make this loop endlessly. And for specifically for this function to make it loop endlessly, we need to put it inside a composition that's going to make our job easier. So I'm just going to name this tank lift and actually result PNG just tank left should define. Make sure you select the second option and this is selected. Let's click. Okay, so as you can see, it's changed its color. That means now it's a composition. And when we desert also, it's tracking mater, also courtroom ofs. So if you remember before we had Tracking much a which was tracking the mask for tanks. So what I will double-click here and I will choose traveling much alpha inverted mosque for tongues. So what I will go here, alpha Marcela, if I want to invert mask for trunks, basically, can still tri-axis. So now when I move my mouse forward, as you can see, we can see the tongue hear about astronauts is second number three, we don't see it anymore. So now we need to make it look endlessly. How we will do that is we're in very simply my dear friend settles. Right-click on this composition. Go to time and enabled time remapping. Now when you have it, let's go here. So now when you have it, you automatically sees this town remap opened here. And also these two points. If I bring my arrow to this point, as you can see, we don't see is the tank here, but we see it on second number two. What we basically need to do is we need to create a new point here. So when we have our arrow on second number two, we go here and click. And when we do that is automatically add a new point here. What am I since I click here and you point was created. And now we'll go to this point and I will delete it. By doing that I'm showing after first I want to trap animate only from here to here. Basically I want to look only this part. Now when I have this oriented, I need to go here. I did show you two already in previous lessons how to create a look when we are looking at this, you know, and this time I'm just going to show it to you again because most likely forgot it. You have to hold Alt if you're using Windows, Mac, it's either comment or option. I think it's gone because I'm using Windows, so I'm not sure, but I think it's common for Mac and for Windows it's old. You hold Alt and you click here. Boom. Once you click here, as you can see we have here is this thing open? And this is basically an expression. This here we can write different commands to aftereffects and after flux will fall His commands. And as a command that we want to write here is a loop out. So look out and practice opened and closed. And I also want to write here cycle. So basically makes sure to have exactly what I wrote here basically. And that will tell aftereffect, okay, use a low-power basically loops this animation, loses composition in a cycle. So now for example, I can clauses and now if I continue while, you see, now, when I continue, even if before we didn't say anything went wrong, seconds three or four. And I can see it too. That's exactly what we wanted to do. Perfect. And it's looping tills the end effector. And now we just need to do the same to all the other tanks as well. So basically how long is the story? Okay? I think we have time just going to Zazi ones quicker. So now we'll just go to tank, right? Okay, is the right one. I will take this and also makes the shorter. So I'm just going to put it here. And let's actually zoom any ultimate and it needs to be on second number two, frame number one. So that's where it needs to end. Perfect. And of course there are hot keys that you can use in order to make the shorter, but I'm not going to dive into hotkeys here. Otherwise you're going to get confused, especially if just starting out. So you can just look them up on your own in Google if you want to. So now when we have it here, perfect, and now we'll just go here, click that button and choose decompose. And I will make sure that chunk, we just call it tank, right? Make sure it's this options are selected. Let's click OK. Next step is to click that button here, go to time and enabled time remapping. And now when we did that, what we want to do is just like previously, we want to go to second number two, you want to create a new point here and we want to delete. And now as you can see just like previously, we have here is these two points, which is basically aftereffects, is selecting the parts that you want to loop. So what I will do is I will just go to second number to create another point here and do it this last point, because this last point is actually just empty. There's nothing, so I will just do it so it doesn't look like the emptiness. And when I did it again, I will go to this clock. You hold Alt or comment. You click here, and you go here. And let's just write here, loop, loop out, and just going to write, so cycle, sorry, not circle. Let's close this. And boom, now it's going to loop endlessly and perfect. Let's go do the same to the middle, mouse. Where tank, middle, sorry, not mouse Tang. And again, I'm just going to make this really, really short. So it's going to be only two seconds long. 2 second 1 frame. Right-click, choose pre-cum pause. It's going to be called Tang middle. And let's click OK. Now again, just right-click here, go to time and enable town remapping. Make sure you create a point on the second number two until it's a point after it. Let's go here. Click old or hold, Alt or comment. Click here and write here, look out. Water. Perfect. And by this we can actually lope since now. Boom. And as you can see, all of them are perfectly looped. Alkalis x_hat. And that's it basically was a looping. Let's actually go to file and save this. And after say that we probably did finish the most complicated parts of this animation. We have still left probably three lessons approximately, but we'll get it done. Thank you for watching my dear friend sitters. I hope this is very useful for you. Love you. Bye bye. 12. Creating Shadows: So if we look here, we can see that we have shadows here in the eyes and also in the mouth. So let's create them. And we're going to use just a parental nor to create. And so we're going to create shapes basically. So let's just click on parental and make sure you fill color is black. Save just click on it, make sure it's totally black. We can just copy this color code and paste it and just zeroes and it's going to be black. Let's click Okay. So before you start drilling, of course, make sure nothing is selected here. Otherwise it's going to create a mask for it. But since I have nothing selected and I have pencil actor, now if I start drawing here, is just going to create the shapes. So I'm just going to zoom in habit. And again, you can zoom in through here or through your touchpad, mouse scroll and zoom in. And let's start from him. So we got to create it like here. So you can just start clicking, click, click, click, click to create something like a shadow basically. And it doesn't need to be perfect. We're going to change it anyway. So this is fine. Now let's go to this i and let's do the same. So it starting from here, like that. Okay, so now that we have here is these two shapes, and it's going through before our eyes. Solar's going to rename it and I'm going to name it iss shadow. And now I need to create a search shape for the most part is going to be, it has to be located on a separate layer basically. So I'm gonna take my pen tool and again, make sure nothing is selected. So if I just click here, nothing is selected. And I can go here to the mouse and start drawing a shadow. Basic land's going to start from here, like this. Ok. So good. So now let's actually go first of all to the, to the shadow. And Alice also knew actually Charlotte, just create it. It's going to be Mao's shadow. Great. And the first thing we're going to do is we need to make sure that we see the shot only inside xyz, which means we interplays as say, mass kinases that we applied on the tanks. So if we go here, as you can see, my scores, tons is going to be z shape and that we created before. And I can just, it copies this mask for the tongues. So if I just click Control or common plus D, And when I did that, as you can see, it creates a duplicate. Or you could also go to layer and select hopes. You could go to Edit and select Duplicate from here. So now we have here, and I'm just going to move it up. Say it's on top of the ice shadow. Great. And now what I will do, I will go here to the tracking matter, and I will click alpha inverted motto mask for tongues. And once I do that, boom. Now as you can see, we see our shadow only inside xyz. So now of course we need to make it softer. I mean, it's, it doesn't look like a realistic shadow. So let's click on ice charter. Oh, I know to make the software we're going to use goes in blue. And if you have been using Illustrator or Photoshop or any other creative tool before, then most likely, you know what is go with blue. It basically just making everything blue area, which is going to make our shadows smoother. So if you look here as you can see, it's really smooth. But here it's very edgy. And in order to find those simpler, I'm gonna go to effects and presets. And if you don't have it here, it may be closed. Ok, just click on it. Or if you don't have it here TO ego to affect window and you will find effects on present here. And let us know. Right here go, we see an answer as we do that we can see here goes in blue. So what I'm gonna do is I'm just gonna take this brings us to eyes shadow. And once I do that, I will see here Effect Controls open and effect controls for I shower, which is going to, it's going to automatically open as soon as you put an effect on the layer. If you don't have it here, then let's say you still see project for some reason. They're most likely going to have here another tap effect controls and you can click it, you will see goes in blue. Again, if we can't find it, go to Window, and here you will be able to find it F8 controls. So now let's try to do 20 blurriness, okay, twenties too much as we can see, let's try to do ten. Let's actually do 14. Let's see how does this look? I think it looks fine. Zone singles that I feel like the shadows R2 scene a little bit. So what I want to do is actually wanted to go to our shapes and maybe reshapes them a bit. And we can do that very simple just by taking control. And as soon as I take parental and as you can suffocate these points again. And I can just click and drag them. And I can do that too. Basically, make the shadows seeker. And like z, o K, perfect. Now let's go and do the same to the second one. So I'm gonna select parental. And once I click on it, this is activated and I can just click and drag it like this. Oops, I created another point backs and say I'm make sure you actually click on the points. Good, good. And now when I do that, let's again go eye shadows. And actually this time, let's see if it's fine or if I want to, OK, it's fine. But maybe I want to make those simpler. Strongest, i'm gonna go with 17. Good. I think it looks fine. So now next step is to do the same for this shutter here. So basically this is a much shorter, we need to create lubricate off mask for mouse. So again, let's create a duplicate. And I'm going to put it worry on the top. And when I have it here, I'm just going to go to Mass shadow. And I'm gonna make sure I create a alpha inverted motor for this mask, where, great. So now you can see we see it only inside the mouse. And I'm also going to need to create a goes in blue on this as well, my shadow. And I will just go and apply, let's say 17 blurriness and o, let's say, should they do maybe 20. So as a problem that I have here, it doesn't cover the edges. So that's why what I'm gonna do is I'm gonna select mental and now we'll have to reshapes his habits so it does cover the edges as well. Like that. This looks much better now. And why that's so nice. You can see we have a beautiful shadows. Good, great job, great job, my dear friends. Let's say along because it's tutorial K 11 minutes. If you have made it so far, then congratulations, you are a hero. Ok. And we actually passed all the difficult part. I mean, what we have left is just going to be much easier than the stuff before. Cvs is next lesson. Bye-bye. 13. Child and Parent Objects in Photoshop: So if you look at the final video approximately on second number nine, the phase starts to separate basically. So the last part goes to slaves, right? Pilot go to 0, right? And important things to notice here is that when we do that, as you can see, this tongues are going to get a visa parts. So as you can see, left one goes left, right one goes right. But the middle tongue, actually, if we will clear, it starts falling apart, so it just falls down. I mean, there is afforded is very simple. It doesn't know where to go because it doesn't point to the left or right. It's just in the middle. That's why it just starts falling down. And that's exactly what we need to do right now. We need to create this phase apart animation. And, but before we do that, first of all, we need to connect the left tank to select buttons right down to the right part. And I mean, of course visually we have done that as you can see already here. But by Connect iy means that whatever movements they lived part to the left tank also have to do the same movement. So how can we do that? So if you look here and we can see here parent and link. And if we don't see it, that means one of the things is off. So for example, just make sure you have this clicked and you will see pint and link. This basically helps us to create a parent-child dynamic. That means that for example, if one layer is a child, then it's going to do everything words the parent does. So let me just explain it to let's take for example, the state lift tongue, words of tongue left. Is this one perfect? This is our left lung. And let's now find the lived part of our head. This is left front. Perfect. So now let's say we want to lift phone to be the parent and we want left tank to be as a child. So I'm gonna do is first of all, I'm going to go here to the tank lift. And here I can either click here and choose its parent. And all geologists do religious click here. And let's choose. It's going to be the easiest way, left front. So now basically this tank left is connected to left front. What does this mean? Let's say now for example, I click on the front. And let's say I want to move it. If I click on start moving it. As you can see, wherever I'm moving it, the tank goes together with it. So let me just go back. Let's say if I didn't have this connected, let's go here and click on non. And let's now move left front. As you can see when I do that now the tongue doesn't CO2 gets a visit. So that's basically what is the parent-child dynamic. Child always follows the parent and not only in position but also in scale. So for example, if left front would get bigger than tank would also get bigger. So what I'm gonna do now is I'm going to assign to Angular two left front. I also need to assign its mask to left front. So now I also need to assign the shadows. But the problem with the Chartreuse is that we don't have separate charges for left and right is just one shadow for the whole phase part, we need to have separates routers. For the left, I am forced to write I. So let's just quickly separates them. It's not going to be that difficult. And the way we can do that, of course, first of all, we need to create a duplicate of this shadows layer. It just control a common plus D. And now we have a duplicate here. And what I'm gonna do is I'm going to click that button. I'm going to rename this to the eyes. Shadow, left. Good. Now I'm going to have this. I will open this. And I have here contents. I've often contents. And here I can see two shapes. So basically left eye and right eye. As you can see what we can see some selected. So I am going to select the right one and just click Delete or backspace. And once you do that while up, it's gone. And as you can see, once it's going to be actually on the left one. So now let's close this. Now let's go to the eye shadow, to the original one basically. And now here let's delete the one owns lift. So we have on these write one here, Let's lit it. Boom. So basically that means that knowledge is going to be for the right eye. Let's continue for the left eye. And lets also rename this as well as shadow, right? And now what we need to do for XY shall the left is also add a mask for it as well. Because we mask and the 2's I shall direct but don't have any mass added to the ash shadow left. So I'm just going to duplicate this mask. I'm going to put it one layer above eye shadow left and z, I'm just going to click alpha inverted mask. Boom. So, and that's how we separate it. Basically. We just create a duplicate and zoom in one duplicate. We deliver the right shadow in other duplicates, we delete the left shadow. Perfect. So now what we can do is I can take this, I showed a lift and I can also connect it to a left front. I can take this mask and it can also connect it to left front. Basically the mask for the eye shadow. And now for example, if I go to left front and I start moving it with what's going to happen. Everything that belongs to it is also moving together with it. That's exactly what we wanted. So in other words, perfect. Now the only thing I also want to move it, it Zai Zuo Zan us insights. I also wanted to move together with it is it's back. So if I turn off look throat, I can see the back. There's basically left back. And I wanted also to move together with left front. So what I'm gonna do is I'm going to go here and oops, to the parent and select left front as the span as well. Now so do the same to the right part. And basically, here's our right where his rightful rights front. And let's go to tank, right. Let's select, right, fronts are basically numbers 14, just remember the number and just selected always. Muscular tanks. Number 13. Let's go now to the shower door, right? Number 13 and mass for trans. I. Number 13. Great. N95. Start moving z right front from Everything is going together. Oh, I forgot to add the right back to it. Ok. And now if I move it, boom, as you can see, everything is together with it as well. And now let's just save this. And in the next lesson we will actually start creating the separation animation basically. And voila, it's going to look beautifully. 14. Splitting The Face: So now in this lesson we will start the separation technique and we will start doing it from the second number 0 as nine. I mean, I don't know why I said 0. So anyway, and now when we have all the right objects attached in order to separate them, we just need to create the select the corresponding part. And I'm going to start by selecting left front. And I'm going to start by separating it. And there's a right front. Basically. Let's select it and let's just click PI. And when we click the, we get the position opened. And I can just now click on position to start animating it. And again, if you just learning After Effects, I showed you how to animate the position at this point in general in the very beginning of this course. So once I have collected, as you can see, I have here point created that muscle and second number is nine, I have a point. And now I can move my cursor, true seconds forward. I'm gonna move it to second number 12. And now here I'm will start to moving. So there's gonna take left hand and I will move to the left like this. Ok, so don't worry about this thing, we are going to get rid of it, okay? So let's move it. And I will actually have to move it out with further and not only the position, but we also need to animate the rotational say bit. So let's go back to second number nine, Just make sure exactly 900. And let's 90 to animate the rotation, we have to select the leftward and click our. When we click our we get rotations are basically peas for position are as far as irritation. I click on rotation. Now again I can go and 12 on second number 12. And now here I'm just going to rotate this EBIT just like that. So now I'm gonna go to the right front basically. Again, let's go to second number nine. And let's click on the right funnels, click P. And let's start animating this. And we can actually do two things at the same time. So I can now also click on R and click on R0 so I can start admitting it as well. And now for example, once I have rotation and position animations activated, I can just click you. And it's going to show me all the active possess all the active animation points. So basically in our case, positional notation. Again, if you got confused with this part, just rewatch it and you will understand what is going on. So now let's go to second number 12 again. And I can take this position, I can start moving it to the right. And now I need to rotate it as well. So I'm gonna go to rotation and just rotated a bit like that. So you can also just click, change it manually or you can just click and drag basically to the left and right. So let's actually also move it out a bit down. Oops, I moved the wrong thing was click on right front. Let's move this a little bit down. Okay, perfect. So let's go to certain number nine and let's get rid of. So when we act basically move it as you can see, we have here this background and we need to get rid of it. What is it actually? Let me just explain to you, where does it come from? If you go to Project, we opened Main assets and if you go to left front, we see that here we have this background from this asset basically. And that's not a big problem. We can get easily read offered, very and very simple. All I'm gonna do is I'm going to select this rectangle tool. Make sure you have here right front, sorry, left from selected Michelle rectangle to select it. And now we're going to have this electron selected. If I start drawing with the rectangle, I'm going to automatically create a mask for left front. And that's what I want to. I want to create a mask which will include only as a phase. And that means we will not see this background. So I'm just gonna go here and I will start creating this mask lie exists. And once I do that, what up? Now? If I look here? So once I start now moving this. Okay? So as you can see now we don't see as a background for the left-hand part, we still see it for the left back. So let me actually go back here again. 2 second number nine. If you go now here to alert back, it also has a background. I know a little bit complicated, but just keep with me and I hope that's the right word. Stay with me and you'll get it right. Now. We also need to do the same for the left back. So I'm going to just closest clauses so we don't get confused. I'm gonna go to left back. And again, I'm going to select Rectangle Tool. And an I need to basically create the same mask for it as well. And actually what I can do is I can also just copy the mass from the left front, basically forms the phase. So if I go to left front, I open it, I click on the mask. Actually we can just click here. I click on control or common plus c. So if I just do it, or you could also go to Edit and choose here, copy. Let me clauses let now go to left back. And I can just click Control common plus v, which is a paste shortcut. Or you could also just go to edit and click Paste. And once I do that, now I have the same mass for the left back as well. So if I start moving it well, and I don't see any background, perfect. So now when I move it, it's going very, very smooth. Let's actually go and save this just in case. So now when we move it, I also need to move the back part of it as Plaza was. Why do I even have them there? Because they're going to help me to create a depth. So let's go to second number nine again. Let's select left back. So let back is connected to left front. Basically wherever I'm moving left frond, left, like it's also going 0. That's because as you can see here, left back is a child of left fraud and left back in case you don't understand is this part here. So it's basically the back part of the phase. And what I want to do now is I want to select the left, but I want to click on p. So position, and I want to start animating it. So now for example, when, when I'm moving this whole thing, I want to see the back of her head here. Because by doing that, I'm actually going to create a depth is not going to look that flat. And how we're going to do this. For example, now, let's bring this 2 second number 12. Second number 12, I can select left back and I can just smoothly start moving it to the right like this. And when I did it, as you can see, it's creating kind of a distance between the front part and the back part of the head. So now for example, if I look here when I move it, as you can see, it's almost like if we are starting to see the inside part of the head slowly. So I need to move it even further. Basically, let's click and drag it even further, like this. But obviously not too much. So this is supposed to be fine. So let's now have a look. Yep, this is looking good. So now let's do the same to the right part. Basically, let's go to the right, park right back. And let's click on PS. Well, let's turn on position animation. And when we move it, let's go to second number 12. And now select our writeback, and let's move it a little bit to the left. Like this. Not to be done as it should be fine. So now if I move them, it's almost like we're cracking and egg and we start seeing both sides of our head. Perfect. So now what we do is we need to make sure that there's no space here. As you can see, it's not connected. So this part was a heads-up connected to this. But we need to connect them. How are we going to do that? Is we're going to use Puppet Pinto for that. So if you remember in previous lessons, we were animating the tanks using Puppet pinto. Basically we were deforming our objects. We're going to do the same with the head. We're going to deform the head L2 bit. And so where are we going to do that? I'm going to select let Toronto. And what I'm gonna do is I'm gonna select puppet pin tool. I'm going to select puppet Pinto. I'm going to click here once basically owns the very edge and it actually in order to find h, let's turn off right front so we can see it. Okay, so as edges here, I'm gonna click here, boom. And I'm gonna make another point here. And I'm gonna make another point here. And also I need to make some points here, here and here. So now when I start moving this basically if I go to second number 12, what needs to happen is that this, I need to click and move it here because it needs to be connected. So basically it's almost like we are closing the gap. Let's actually go here and click fits so we can see everything. And the same goes for us here and will also want this to be connected like this. So now for example, when I start separating this, as you can see now, this part stay connected, which is exactly what you want. Let's do the same to the right part of the head as well. And let's turn on the right prompt. Let's again go here, make sure it's fit. So we say overseeing. And let's turn off left front. So let's click here, boom. And let's go here. Click here once. Let's go here, click here. And let's also to some point here, here. And basically here. So now if I start animating it like this, I need to take this and I need to move it to the front. And answering each takes this, I need to move it a little bit because this part doesn't need to be really connected there, but the head, the top needs to be connected. So and hopes and you should move this a bit. Oh yeah, let's not move this because it's a xy. So and via knife I go, Hey, let's actually turn my, where is it? Lets turn on left front. And if I start moving them. Perfect. Now's the head is cracking up. That's exactly what we want. And that's it with this lesson, my dear friend sitters. Thank you for watching. Love. You. See you next time. 15. Creating Shadow Inside the Face: So we're getting closer to the finish line. And last time we animated this head basically, so it starts getting apart. And one more thing we didn't do here is this tank, basically it needs to go down. So what does this mean? First of all, once once a left and right parts starts going separated, basically what needs to happen is we need to we need to get rid of the shoulder here and also the tongue. It needs to be full. We also need to get rid of basically of the mask for the tank. So how this is going to happen? Let's go to second number nine. Let's find the shadow. Force a tank or just click on it here. My shadow. Let's click T. T is for transparency. If I click t, I'm going to have here this opacity perimeter opened. Again. The letter forward is t. And, or you could also just opens this and then open transform and you would have it here. But like this, as you can see, we have many parameters. I don't want them, I just want one parameter which is a path, say dash, I'm just gonna click T. Perfect. I'm gonna now click on a, pass it to turn this on. And now basically what I'm gonna do is here, then that's actually even here. Already. I will go and make opacity 0% if I just click here and click 0. And now that mysock basically, from here to here, the path C is gone, that's perfect. Announcing I want to do is I actually want to take this tank and saddle like slowly put it down. So was it Tang, Tang middle here? Perfect. This is chunk. So I'm just going to turn on position animation for it. So I'm just going to click P, click here. And basically what I'm gonna do is, so I'm gonna go to the second number 12. And a second number 12. This tongue needs to be located here. Perfect. So now as you can see, this falls apart and this tongue starts falling apart as well. But the thing is that when this happens, I want to see the full tank. I don't want to see a bit and part of it basically, you know, and in order to seize a full tank, what I need to do is I need to double-click on this tongue composition. So if I just double click here, boom, boom. I'm going to have, yes, this tongue Migdal composition opened with all the objects inside it, which is the mask and talent meter. And basically, the reason why we see on the part of the tank here is because of this month. So if I now turn of the Safeway basically not go here and click no tracking matter. So as you can see, the full tank. And if I now go back here, so now what will happen is that if I look here to the mouse, I can see that now it's looking weird because now there is no mass. Can we see the tongue everywhere? Basically, it's not inside the most. And that's why I actually, I have here this mask for mouse and I'm going to use it. So it's basically the same muscle mass that we have here. It's the same, exactly the same thing here. It just, it's copied. And again, if you are following. The lessons correctly, then you should have it here as well. In case you don't have it, then it's not such a big deal, just keeps this like this. And you're going to have on behalf of the tank, which is also totally fine. But for me I'm gonna go no tracking much. And here, and here basically I'm going to turn on iPhone inverted try matter for this mouse. And now basically we did the same like we had before. But the only difference is that now for example, when my tank loss, sorry, tank, middle tongue starts moving. What is going to happen is, and we have here is this mask. As you can see, mask stays in place, but the tongue starts moving. And because the tongue starts moving ends falling down, it suddenly getting out of the mouth and we start seeing full tang. Because now you can see the mask is here and it's not touching the tank. So voila, perfect. This is exactly what we wanted. Let's not go here to fit. You also need to create some shadows inside. So I'm gonna go to left front. And I'm going to go to effects and presets. And I am going to write here shadow. And here I have drop shadow. That's exactly what I need. And that's going to bring this and drop it on left front. Perfect. And what I will do is I will basically just increase the distance. And whatever we can already see here, the shadow. I will change its angle. And I will also increase softness to 20. Maybe when 14, actually 20 was fine. Yeah, and that's exactly what I need here. Maybe even further. Yeah. We can change this later as well. We will see. And, but now the thing is that because f has a shadow now. Now if I go and say back to the part where I wasn't separating the head yet. Okay, this looks fine. So now if I start bringing us apart, Allah, we have the shadow inside. Perfect. And now let's go, let's go to xr right front. And let's do the same here as well. So basically I'm just going to take this job shadow applied to right front. And again, I'm going to increase the distance, but actually we need to change its angle. So the shadow needs to go to the left. And that's exactly what I did here. And like this, let's also increases to 20 should be fine. Distance probably too much. Okay, this should be fine. So now the thing is that as you can see, now we start seeing the shadow everywhere. And that's happening because so basically this layer right front is on top of the left front. And that's why now we see it's shorter here, which is, we don't want it right? We want to we want to see your shadow only when we start separating the head. And in order to do that, we will need animates the shadow. Which basically means that, which basically means that if I go to drop shadow at pasty and F here clock, that means that I can animate a pi says, well, so I'm just going to click here on the clock and here on second number nine, I'm gonna make this 0%. So as a cancer patient is gone, and now for example, if I move to second number, actually not even 12. Already here, here should be fun. And here already, I'm going to make this again 50%. And by doing that now I have a shadow which was not here. But that's not start separating. We start seeing the shadow here. And nine as a crucial thing is that you wanna make sure we get it right. So if I zoom in, if I am here, as you can see, we start seeing bits of the shoulder here as well. We don't want it. So what I'm gonna do is again going to go here and click 0. That means here the shower is also 0%. And if you go for further, further, ok, now we start seeing the shorter perfect. Now if you want to see is these points that we just animated, because we don't see them here. They're here. We can just select the stride forward and click you. And once I click U, I will get here. As you can see, all the puppet pin tools, Puppet pinpoints that you're animated. But if I scroll down, I've also he's seizure drop shadow effect. And I will see here pi c, and that's basically our pasts animation. We have here three points, so this is 0 seconds, 0 percentage by the source is 0, and here it's 50% shorter. Perfect. And now you have solved smaller problems as well. So in the next lesson, we will actually start putting the tanks. Sorry, is a mouse's inside, that is inside the head. And then you're going to zoom our sink. And suddenly cities are going to go to the left and right, basically to create a whole and to create a space for the looping animation, basically for the head to appear again. Because if you remember this going to be looking animation which misses the head will appear again and then it will start all over. And then it's going to go like that. And there to appear again, it will start o or so. Make sure to save this NC license and x and lesson. 16. Putting the Mouth Animation Inside the Face: Hey, our law friends. So I will start spinning up a bit because we are almost done with animation. I mean, of course we need to connect the Ts and everything else part. It's not that much left. So now shall Kim, I'm starting from second number nine. When the head is going to get separated, we will need to start seeing that is inside the head. And this is going to continue for basically from nine till 12 and then 215. So basically for six seconds. Let me set now I need to go to xr TCE animation. I just double-click here Copan, this composition, if you remember, we created this a few lessons ago in the very beginning. Actually. That means that this composition, basically where we see all the test needs to be at least six seconds long. And basically if we start looking from here, this is the part where we see all the t's. So here somewhere. Because if I go ultimate early as you can see, we don't see all the t's on this starting from here, we solve them. And basically from second number two plus six is around 68 seconds. So basically it needs to be approximately this long. So what I'm gonna do is I will go here. And I will cut my composition from here so that I don't say anything that was previously denoted that I can just take this this is a work area, basically the sink. I can click it and I can bring it here. And now for example, if I go to composition, I can click here, drink composition to work area. That means certain, I will have only this part here. I will not have any this part. So if I just click that, we're here. Boom, as you can see, now I don't see what trends before, and that's perfect because nice, you also T's together. Snores go to pre final composition. And we need to import these cities need to be behind there, left front, and left and right front part above, left back and write-back. So I'm just going to put here. Perfect. And now when I have some here, what we're going to do, we need to bring some here starting from second number nine. So they need to be here basically. So now the problem is that as you can see, we have here extremities near her neck and we need to get rid of them. So make sure nothing is selected and select the Pen tool. And now we will start creating this type of shape that will cover this, this, and we'll go around her face. I will take this new shape, click right button, choose Rename, and call it this mask. Let's bring this shape down to be one layer above the TCE and choose Alpha matter, tracking inverted matter. And as you can see now, we hit cities around the face. But the problem is that when we opens a phrase, we still see the hidden t's inside the phrase as well. Now I will change the length of the mass so that when I opens a Phase, I don't use a mask anymore. And I can see that it is fully result mask. And as you can see, one opens a Phase, I see all of this. Now we need to create an animation where the teeth are going to the sites and creating a hole. So let's go to our tastes composition. I'm gonna click on the mouse and then click Control or comment plus a to select all of the layers. And now let's click p to open position animation. Makes sure your timeline cursor is on fifth seconds, basically on the second, whereas it is needs to go aside. And now let's click on the clock. And as you can see, once we click it, all the other clocks also activated because we add all the layer selected. Now let's move our cursor to three seconds later. That's basically when the tests need to be already on the sides. Now let's select them AS one-by-one and start moving them to the side. And by doing this, we basically are showing After Effects, water is going to be our final position when the hole is finally created. Let's now go back to the final composition. And now if I start moving the cursor, as you can see, that these are going to the site. That's exactly what we want. That's it for this lesson. Make sure to save this and see you in the next time. Bye-bye. 17. Finishing The Animation: My dear friend status, we have two lessons. Lift this, and then the next one is going to be the last one. And now we need to put all of these objects into one composition. For that, let's first of all close pose our compositions, the mouse and the profile. So not to put all of our animations together into one layer, I will select the profile composition and move it down to this composition icon. And once you release it, as you can see, we will have a new composition automatically created, which will be called pre final two, with our PR final composition inside it, I will select pre final to click that button and rename it to final. Now let's select pre final, click on S, and we will see scale. And let's activate scale animation. And let's now do the same for position. Basically click compete open position and activates the position as well. Nine, notice there's smoke problem we see here is the edge of the piece and we need to get rid of it. So I'm going to double-click on the predefined node to open its composition, Let's find and select zip this mask. And now let's select Japan tool. Now we can click on this points and drag them to extend them and cover this TCE. Let's now go back to the final composition. Lets select the final layer. Click on you so we can see all the active points. And if you remember, we did activate position and scale animations before. Go to second number nine, and let's now increase z scale. Let's click food so we can see is a halting. Let's now move to second number 12 and increase the scale even more. Let's now move to the last second, second 15, and increase the scale even more. Moves the timeline to second 12. Let's now click T2 open opacity and the activated move to the last second and decrease the opacity. 0% must go to sort. Second, go to Edit and click split layer to split it into two parts. Now let's select the second part and move it to the end. And as you can see when we animated and Z it is goes to the sites. We see again the face. If you didn't understand how this happened, just rewatch this part. Basically what we did, we cut the first three seconds of our animation and put it behind ZT is. But now the problem is that as you can see when we animated, the posture of cities is very low and Z are transparent. So let's click T2 opens opacity. You know what? Let's just get rid of opacity animations. Click on the clock to get rid of all the points and makes opacity a 100% moved to the end of the timeline. Instead, I will click as to open the scale and just increase the scale so we see only the phase. Now let's look at both of the layers and move them to 0. So there is no empty space. But now you can see we have the empty space in their worry. And so I will go to composition, composition settings and change the length of our composition to 12 seconds and click OK. And now if you try to play the animation, it's perfect. Luggage this cell, good. And there's only one thing left. Retina and amp talking about this texture that we have on the background. And also on her phrase for that we need to import this image that we also have insert downloaded course assets and legis important to After Effects. And now one important tips that will benefit you in the future. Let's go to aged and preferences, and media and cash. And that's going to open this window here. And let me explain you what is cached in after foods. So whenever we try to play our animation, you know, replayed answer after felt creates cash. Basically it says parts of the animation in order to replace. And at some point we reach the maximum amount of storage available for after flex. And that's when our aftereffect starts crashing. And that's why it's very important to go here and empty this cache so we can actually empty everything and our program doesn't crash. This is very useful, especially if you have a weak laptop and you aftereffects, keeps liking. So let's click on it. And as you can see, I've almost seven gigabytes of files that I don't need, and let's just get rid of them. So click OK. And let's now close this window. This has nothing to do with our texture that we just important, but it's going to be very useful for your future projects. Let's now select the texture and places inside our composition. Let's click as tokens scale and reduce its scale. Now we just have to change the Blending Mode from normal to overlay and via beautiful. If you are familiar with Photoshop, then you probably know what blending mode does. And in case you are not, what it does is basically helps us to blend the current image with everything that we have below. And that's it, guys. In the next and last lesson, I'm going to show you how I can export this animation as a video. Cia, bye-bye. 18. Exporting the Animation: Congratulations. I wasn't sure if you're gonna make it o here, but if you did, then you are my hero. And I am amazed that you actually did it. My dear friend. So guys, this is the last lesson. So that means congratulations. We are almost done now to bad news in order to export this as a video, basically as an mp4, we're going to use a separate application. There isn't for that is that unfortunately, when you export your animations through aftereffects, their size is usually really, really big. Basically, this short 12 cycles animation can be few gigabytes. And of course, you cannot oppose it to Instagram or any other social media or just online if it's few gigabytes, is too big for this short animation. So in order to export this as a normal VGA, I would say we're going to use a program called adopt major encoder, which is also from adopt. And that MRD, unfortunately you will either have to download this or if you don't want to do that, if you still want to export it through Adobe After Effects and maybe resize the, reduce the size of the animation some different way. And there are thousands of tutorials online on how you can export your compositions in After Effects. You can just Google zone. You can just search for them on YouTube and you will find what you need. But in this course, we will do it through a document encoder because that is the first and the most professional way to do it. Basically, what I am going to, first of all, before we start doing that, we need to make sure that we have few things. Strike. First of all, make sure this is here is full. So basically, this here must be full because if you have here looks at quarter, then you're also going to export this as a quarter quality, which as you can see, it's not that cold, so we're gonna make it full. So we have it at full quality. Secondly, make sure you have the right composition selected in our case, it's final. So basically this decomposition where everything is animated. And the last step actually I almost forgot, is to add the music. And we're just going to do it here quickly. And here we have our two songs basically as well. The first one is not a song, it's basically just a sound of t's basically. And this one is going to actually kind of spacey music. So I'm just going to slug Baathism and important TO project what I'm, and I'm gonna take this 1 first of all and place it here. And if you want to hear it, it's basically just something like that. Or wait, I'm not sure if you can actually she let me turn on desktop module. So so yeah, as you can see, just a space in song and this one, I'm just going to be perfect. So now I have it here. And as you can see, if you have it. And actually if you go to our preview, you need to have this ONE. This is basically play out in preview. If you don't have this owns and we're not going to hear out there when we're previa, but if we didn't have this on, then when we start premium, we will, we'll hear of audio. And for example, once you start play, click play, you will start hearing it. And let me just show you an example. Again. Turn desktop. I'll just so you can hear it as well. Perfect. And now I'm gonna go to cartoon teeth, and I'm gonna place it here as well. And this is going to be visible from not visible, but actually you will be able to hear it basically from second number six, when the phase starts going apart. Actually not, not even six, I would say. Yeah, actually less, well from here. But then it needs to be longer. So as you can see, we need to make this longer, which means I will create a duplicate of it, and I will just bring it here. And duplicate is control common plus d, if you forgot. Perfect. Another thing is that this sound needs to start very worried silent because the head is still close. And the closer we get to the ti's, the loudest sound needs to be. And we're going to do that by doing something very simple. I will open this. Here. We have our job and we can actually animate our debt levels, which means we can make the sound silent or loud. So if I just click here, and I'm going to make this minus 20. And, and at the time when this is totally open, I'm gonna make this 0. So now for example, is going to go perfect. So now the problem is that when I place this, the sound of basically this music where we have the TIS scrambling. Oh, I don't know what is the right word. And our animation of t's do not really match. So if you just look at this again, if he said that our teeth are too slow for us, that means we need to make our TCE faster and we're just gonna do it quickly. And it's contrary, we only need to change warranties. Basically, if I just double-click on this and I go to mass, I double-click. So I just need to change the animation here is going to be applied everywhere else as well. Because you using this object everywhere else. And let's just select potent teas and uppercase. Let's click you. So we can open the animation. I'm gonna zoom in now. I will just take this. And so I need to make it probably twice faster. So this is 666 frames. That means I need to put this at three frames. This is perfect, and this is going to be at six frames. Perfect. And now if we go to this, we will see that all of them are also perfectly animated. And now if we go to final, let's try and see if it's looking good. So again, if you say, well, slow, that means your laptop is not strong enough and you cannot actually preview you animation in real-time. So that means as your preview is going to be slower than the actual animation when we exported. And like you can, just now's the sound and the speed of the T-S much. Again, if your laptop is not strong enough, then you will not be able to preview it in real time no matter what you do. And that means you will just have to test and hopes that is going to work well. But again, if you just follow what I do, like what I did here, this is going to be 33 frames and reframes again, then it should be the right speed. So once we have this done, it should be good to go. And the only thing I want to do here is, as you can see, the further we get from the t's, this is more CG-islands assad needs to be. So I'm gonna go to here. I'm gonna open this, I'm going to open out you. I'm going to click here on Agile levels. And basically to suddenly meetings, this is going to be 00, basically normal sound. And when it comes to second number 12, I'm gonna make this minus 30. So we're almost get rid off it basically. So it's very silent. Perfect. Okay, let's just save this. And now in order to export this into edit amazing coder, How long does is it's probably opportune. Yep. But we're almost done. Don't work. All we need to do is we need to go to File and we need to go to Add aftereffects composition. Here we need to find our compositions that we created when you're creating our animation. And I hope you have a separate folder for it. So for me it's called Tank trip animation. Are KKR founded Tang trip animation. And when I click on it, now I need to wait for at obedient colder to basically find the compositions in this project. And as you can see it found all the compositions and I need to import only the final composition. And click OK. And now let's just wait, is going to add it. As you can see it added. And so basically here what we are seeing is a H two 64 is basically compression method. If I click here, we actually are all the other methods, but H.264 is suppose S1. And especially for just, you know, social media and stuff. Then we have much source high-speed trains, which means it's going to export it at the highest quality. If you click here, you can also have other options, but just make sure all of our options are like mine. And here we just choose output file. So, and also one more thing if you don't have h. 264 here anyway is 0. That means for some reason you don't have it on your laptop and you will need to install it, which means you will have to just Google installed H dot H.264 and you will find lots of solutions on how you can do that. So I'll just click on output file. But again, as a default, you should have it in most, in 99% of cases. So let's go to Save As. And I'm just going to save this as Chang trippy animation. Exactly. Let's click save. And now if I just click the Play button, it's going to start exporting it and we can just wait EBIT. Perfect, it's done. And if I look here, here I have my animation now. And if I just played it, let's see if the sound is on its own. Good. And I'm actually going to put this on repeat. Yes, he's going to go for a while. And I thought this is amazing. I'm pretty sure if you did this and if you're watching this, you're so happy, so freaking happy. Now a few important things, OK. When you see it here, it stops. And that's because this is just from the MediaPlayer in Instagram. It's actually going to clip endlessly. Second thing, when you decide to not say applauded somewhere to Instagram, Facebook, or any other place. This is where an very important you need to tag me because this is still my artwork basically miss, I still own the rights for this artwork. I just showed you how it was created. So you can create something like this, maybe using different materials, different phases and so on, or just you can use the same techniques in other animations part. And this animation basically is still my interests of rights. So because AMS the artists behind this animation, and that means if you want to upload it somewhere, let's say, to show what you have created, you need to tag me as an inspiration or as a teacher anyhow you want. But that is very, very important. Otherwise, some of my followers who will find this animation somewhere else and they will not see my tax. They will think that you stole this from me, which is of course not good. That also means that you cannot use this specifically this animation for any commercial purposes basically. But if you create a totally new animation with different, you know, faces, different asset, and then it's going to be yours and only yours. I hope you understand that my dear friends. And that's exactly what I would advise you to do. I would advise you to create your own animation using the same techniques. And that will also help you to practice these skills again. And it also going to be your animation on the and you'll be able to do with it, whatever you want to do with it. I hope this was useful for you. Make sure to check out some other classes that I do. Love you. Bye-bye. 19. Before you go: So once you have your animation completed and nearby exported you video, feel free to send me this video to my Instagram, Fred's underscore gallery. I will be happy to comment on it, give you some feedback. Or if you have any questions, you can always just like message me and I will answer you, of course, if you really like animations and want to continue creating, I also have many other cool clusters on animating in Photoshop or After Effects. Make sure to check that classes to see one of my next clusters, hopefully. Of you. Bye-bye.